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Philip gets up, looks at the beggar with respect and interest, and takes a few steps back.
PHILIPP: (to the viewer, as if to himself) That's really interesting.
Philip leaves with his head down again and his hands in his pockets.
FOREST
Twilight, rain.
Philip goes on stage in a windbreaker, with a rope, looking for a place to put it, ties it to something at the top, is going to hang himself. The rope gets tangled, he can't untangle it, he throws it. Takes out a large blade, looks at it as the last thing he sees in his life.
PHILIPP: (heartfelt) Somehow everything is not right in my life… Somehow everything… senselessly. Deceive me…, deceive me…, what is the meaning of this cycle of lies? And I can't stop it, and I don't see any other way out of this cycle.
A lyrical philosophical composition begins to play (recommended by Felix ilinykh "White snow as white captivity").
Philip swings with a sharp movement, raises the blade above him with both hands, ready to plunge it into his own chest. And then the snow begins to fall.
Philip freezes, his paradigm shifts.
He is distracted by this phenomenon as a child, completely carefree looking at the snowfall, as if he sees it for the first time in his life. He automatically lowers the blade, forgetting about it and about his former intention.
The composition fades for Philip's words.
Philip: (doomed) Here is the first snow… the
Music is gaining strength again.
Philip changes his mind about committing a tragedy. Music is playing. Philip plays a scene of silent experiences of the last events of life.
Lightning flashes, thunder rolls, all this goes in parallel with the loud playing composition. The light flickers like lightning. Vachagan walks slowly across the stage in the same attire with the dogs on a leash.
Philip does not see him, he just grabs his head, falls to his knees, shows maximum emotional experiences.
The song sounds. Vachagan stops for a moment near Philip, looks at him, shakes his head, passes on, slowly leaves, taking the dogs with him.
The lights are still flickering, and the thunder and lightning are fading into the background. The composition remains on the main background. Clear weather is gradually beginning to set in on the stage.
The song ends.
Philip stands up. His hair is wet, and so are his clothes. He is exhausted, exhausted, but he smiles, sanctifying the audience with his Holy eyes.
ZTM.
STREET
It's raining. Twilight.
Plays a soft sad lyric composition (recommended by Terry "don't Talk about love" up to 1min 29 sec)
A few seconds after the start of the loss, Philip slowly enters the stage. He's all wet, exhausted, and drops of water are dripping off him on the floor.
The wife comes on the stage from the other side the same, all wet, exhausted, having experienced all the same things that her husband experienced. They approach each other slowly with the last of their strength, looking into each other's eyes with a plea and forgiveness. They lean on each other to keep from falling.
The allotted time passes for the lyrical component in the composition, the music subsides.
PHILIPP: (extremely tired of everything) Yana… do you think there's anything else we can do? Do we have any more "we"?
YANA: (extremely tired of everything) I knew you cheated on me… a woman always knows, feels, notices when she shares her husband with someone… At first I endured, hoped for something, and then… I became no different from you in the matter of loyalty, and off we go. But happiness is not everything as you can see has brought neither you nor me… And one day I met a man with two dogs… with a very strange name…
Philip is wary.
YANA: after that, I learned to hear the thoughts of my entire environment… And the masks fell! I saw the true faces and was horrified.
Philip looks at his wife with a guilty, surprised, and at the same time exhausted look.
YANA: (extremely tired of everything) And it was with you that I once learned what a woman's happiness is…
PHILIP: (extremely tired of everything) And I've never been as happy with anyone as I've been with you… Then something happened… something went wrong… me… I broke down.
Philip lowers his head guiltily.
Yana gently, with a tired hand, strokes her husband's head, and in this movement you can read real unconditional love.
YANA: I don'T hear anything else…
PHILIP: And I again became ordinary…
YANA: (extremely tired of everything) Then… let's just start with a clean slate. Let's fix what's broken and try to remind each other of what happiness is… Looks like… what besides you and me for you and me… no one can do this!
Philip looks up, looking hopefully at his wife.
PHILIPP: (extremely tired of everything) Think… can we still fix it?
YANA: (extremely tired of everything, but with hope) I think so… We will restore the Foundation, and everything else will be added…
PHILIPP: (with hope and a rapidly forming plan in his eyes) Then… we'll go up ourselves, and then… I know a beggar who will also need help! Let's do it, Yana!
Philip and Yana look at each other, guiltily lower their heads to the floor, and then defiantly with the last of their strength, with the remnants of rage and all the remnants of feelings, they throw themselves into each other's strong arms, so that the spray flew from them in all directions. (Perhaps, for greater effect, it makes sense to provide some bursting containers with water – explosive packages that are safe for actors or use laser graphics).
Fireworks begin to sparkle along the edges of the stage (it is highly desirable to implement this).
A growing lyrical composition is played (recommended by Vengaboys "Boom Boom Boom»
Bright lights on the stage.
The music is playing in full force, and the actors begin to bow on the stage.
A CURTAIN
In the play "Hear or see?» the following compositions were recommended for musical accompaniment: the
King and the jester "the jester's Hymn" Intro – as Philip's call
Passion Fruit «The Ring Ding Dong Song»
The king and the jester "the sorcerer's Doll"
Linkin Park "Faint" – Intro (30 seconds)
Felix ilinykh "White snow as white captivity»
Terry "don't Talk about love" up to 1min 29 sec
Vengaboys «Boom Boom Boom»
Play for 10 people "Temporarily in adekvat"
duration 1 hour 40 minutes.
ACTOR
The doctor is a woman about 55 years old;
DINA – a woman about 55 years old, a school friend of the doctor;
JULIA – about 35 years old, Vicki's mom;
VIKA – Julia's daughter, capricious, cunning, spoiled, about 10 years old;
ZHANNA – about 30 years old, Rudik's mother;
RUDIK – Jeanne's son, a quiet, scolded boy, about 10 years old;
NELLY – Marina's mom, about 30 years old;
MARINA – Nelly's daughter, an ordinary child, about 10 years old;
KIRILL is Dima's handsome, charming dad, about 40 years old;
DIMA is Kirill's son, a nice little boy, 8-9 years old.
Act one
Typical situation of a state children's polyclinic.
A corridor with a flickering fluorescent light. A tortured door to the office with a large crooked number "5" nailed on it. A ceiling light hangs over the door. The "do not enter"sign lights up.
There are only two chairs for visitors near the office. There are no people.
Julia runs into the room, looking around warily, pulling the child's hand, which whimpers and resists.
JULIA: Vika, hurry up. Vaughn (pointing to the burning ceiling light with the inscription do not enter), while the cart was moving, someone already slipped through. We're in a terrible hurry. Did you forget that you have practice at three o'clock?
Mom opens the door to the office, looks in. From there comes the wild growl of the doctor: the
DOCTOR (furiously): Close the door…those, I'll call!
JULIA (sternly): We're two fifteen!
DOCTOR (furiously): Who is the "Do not enter"sign for? What if I had a man standing naked? Mother, are you adequate?
Julia closes the door with an indignant look.
JULIA: You will be adequate here… Well, what to do, you have to be… we'll have to wait.
VIKA: Mom, I'm sick.
JULIA: Are you ill? You'll tell the doctor how sick you are, but you won't fool me, I've already stepped on this rake many times. So like Tuesday and Thursday, you immediately get sick, and characteristically, the disease suddenly hits you exactly a few hours before the choreography.
Vika is sulking, silent.
JULIA: So what? Are you still sick or are we going to practice? Or do we go first to the doctor, and only then after exposure to training?
VIKA (sincerely indignant): I think you suspect me of something.
JULIA (playing along): What are you, my daughter, how could you think such a thing about me?.. I firmly believe that there are such coincidences in life. At least, no one has ever had it, but you have.
VIKA: I don't know what's going on. That's just like training, so this ache attacks. Straight twists all (shows how it turns), shivers, turns out. My throat aches, my nose squishes, my ear shoots, my knee crunches, my side aches.
JULIA: and the head?
VIKA: does it hurt!
YULIA: AND here (shows), under the ankle?
VIKA: Does it hurt!
YULIA: Left hand (raises her left hand)?
VIKA: Hangs like a whip (shows)!
JULIA: And of course my ass hurts… my
Daughter is thinking…
VIKA: Pop? No, there's nothing wrong with my butt, it doesn't hurt.
JULIA (in all seriousness): Does it hurt? Are you sure?
VIKA: Absolutely!
JULIA: so, now it will hurt!
Starts whipping her daughter with her purse on the soft spot.
They run around the stage, Vika tries to Dodge, screams, and her mother catches up with her, completing her aim.
The door of the office opens, and a stern doctor in a medical gown looks out.
THE doctor (in a rough, indignant voice): Can you keep it down? People work here! I can't hear what's going on in a person's lungs because of you! I can't even hear your breath, so scream.
The doctor slams the door behind him.
Mom, taking advantage of the opportunity, while the daughter was distracted a couple of times hits her purse on a known place.
Jeanne's moralizing, authoritative voice is heard behind the stage.
JEANNE (instructive): Vooot! That's right! Children need to be raised!
Jeanne goes on stage, leading the boy by the hand.
JEANNE: They must be kept in a tight grip from the very childhood, otherwise they will bloom, then it will be too late.
Jeanne goes to the study, opens the door, and looks in.
From the office, the doctor can be heard growling:
DOCTOR (furiously): Close the door, I'll call!
The son of Jeanne starts at such a furious cry.
The lady closes the door, looks skeptically around the corridor, stops her gaze on the mother with the child.
JEANNE (busily): Also in the fifth?
JULIA: Yes! I here is so, too, looked, so me inadequate called!
JEANNE (busily): Not adequate?
JULIA: Yes!
ZHANNA: This is still tolerable. Follow me!
Jeanne passes by like a hostess and sits down on the chair closest to the office.
JULIA (indignantly): Why on earth would that be? You came after me, but you're getting ahead of me?
Jeanne looks at Julia as if she's nothing.
Julia indignantly looks at the boorish visitor, turns to her child:
JULIA: Vikul, go while you draw over there, you see a table, chairs, pencils there some paper. Do something while we wait. I'll call you when it's time to go.
Vika leaves the stage.
Jeanne looks after the girl and turns to her son.
ZHANNA: Rudik, the girl you see went where? Follow her step March! Get busy, too, and your mother will call you.
Rudick goes behind the Vic.
Julia takes an empty chair and moves it closer to the door, she sits down on it.
JEANNE: what? The smartest one? I'm on the record, it's my time!
JULIA: I, by the way, also have an appointment for two-fifteen! You have how many?
JEANNE: At two-thirty!
Zhanna shows Yulia's wrist watch.
ZHANNA: can you tell the Time? How much does it show?
Julia looks at her watch.
JULIA: Well, two-thirty, so what?
JEANNE: AND then! My time, so I'll go! If you've spent your time crowing, it doesn't mean that The whole queue should get lost because of you!
JULIA: I haven't crowed anything! I came on time! It's just that when I got there, it was already occupied. Until now, there's a man sitting there, not coming out.
JEANNE (indifferently): Not my problem.
JULIA: I won't argue with you here. Now the man will come out, I'll go.
JEANNE (roughly): I'll go!
JULIA: BUT we'll see!
ZHANNA:
JULIA: let's see!
JEANNE: Let's see!
Nellie, the over – excited mother, rushes onto the stage. He pulls the girl's hand. Does not pay any attention to the people sitting at the office. He runs to the office, opens the door, and pushes his child in.
The DOCTOR (furiously): Close the door! I'm calling!
NELLY: I only ask!
JEANNE (indignantly): Eeeee, Eeeee!
Jeanne gets up and pulls Nellie out of the office by the scruff of her neck.
NELLIE: I just need to ask! What do you allow yourself!
JULIA: Everyone just needs to ask. In the queue – mom! Wait!
Nellie looks around, realizes that the trick failed.
NELLIE: Well… who am I going to follow?
JEANNE and JULIA (chorus): Follow her!
They point their fingers at each other.
NELLY: I don't understand!
(in chorus): I go first, she goes second, you go third!
Nellie pulls her face, gets a rough idea of what's going on in the queue, and decides not to get into trouble.
NELLIE: So, well, then you decide between yourself, I'm going anyway, it turns out, third. Marinochka (turning to her daughter), go over there with the kids, draw something for now, we won't get to the doctor soon.
Marina leaves after the children.
JEANNE (Julia): I'll go next!
JULIA: Just stick your head in!
JEANNE: What will you do?
Julia glares at Jeanne, then silently opens her purse, takes out a pepper spray, takes it expertly in her hand, and points it at Jeanne.
JEANNE: What is this? Pepper spray? What did you say the doctor called you?
Jeanne turns to Nellie.
Jeanne (calmly, as if nothing had happened): Follow me!
NELLIE (looking apprehensively at the can): Understood – understood.
In tears, Rudik runs to the stage, runs to his mother – Jeanne.
RUDIK: Mother, that girl took my pencil from me!
JEANNE: did you take the Pencil? It's a real bitch. What kind of girl are you talking about?
RUDICK: The one over there (pointing at the children) seems to have introduced herself as Vika.
Jeanne (rising from her chair): Vika? Well, I'll give it to her now. So, girls, Vicky, that red-breasted lapwing, whose daughter?
JULIA (aiming the spray at Joan): Well, my!
Jeanne (sits back in her chair): Good girl, pretty. You go easy on her, what's so child on the ass with a bag. The child loves affection. (Turns to his son) Go, Rudik, (shouts) go, draw, said! Take another pencil, there's a lot on the table over there. Don't swear at the girls (rudely) and don't tell me anything here.
He slaps Rudik's ass, and he runs off the stage back to the kids.
Jeanne smiles peaceably at the children.
He turns to Julia.
JEANNE: Children, what can you do? They were like that themselves.
JULIA: Well, Yes. (He turns to the children and shouts at his daughter.) Vika! Well, I returned the pencil to the boy and didn't want to take it back!
JEANNE: Come on, come on, what, let the girl draw. Good girl. It won't get any worse than mine.
Nellie languishes in anticipation, does not find a place for herself. He tries to squat down, lean against the wall, everything is uncomfortable, and finally gets up again.
NELLY: I didn't understand that there are only two chairs for the entire children's Department?
Why are you surprised? In our clinics, especially in state institutions… Thank you for putting up two chairs.
NELLIE: it's easy for You to talk, you're sitting down! I've been up since morning, and I haven't sat down for a minute. You know how much I want to land somewhere.
ZHANNA: there are no hopeless situations, (turns to Julia) isn't there a friend? If you want to land hard – land, the floor is large, there is a lot of space.
Nellie looks at her mothers with a puzzled expression and a disgusted appraisal of the floor.
NELLY: I was actually hoping that one of you would give me a seat. After all, you will be going soon, you will sit in the study for a while longer, and you have been sitting here for so long, and I will be here for a long time.
Julia: never mind, I'll go to the office soon, so you'll take my place. Sit down and relax. I don't see a problem here.
There is a roar from the children.
Julia jumps up from her seat.
JULIA: my God, Vika, how are you so unlucky…
Julia runs away to the children.
Nellie sneaks in and sits down in the empty chair.
NELLIE: Oooooooooo (stretches out her legs) how good it felt right away…
JEANNE: Yes… At such moments, you realize how little a person needs to be happy. I came home from the cold – and it's warm there. Happiness?
NELLIE: Well, Yes. Or when you run from the theater after a performance to the toilet and run first, while there is no queue yet. This is such happiness!!!
JEANNE: Oooh… Yes… However, this happiness is almost impossible. Almost always there is some trash that has time to rush forward.
NELLY: And not alone!
JEANNE: here! Which is quite a shame. And most importantly, you look, in men's clothes – so freely. They walk quietly back and forth, you look in while the door is open, and there are plenty of free places. So you envy the men, they generally have an easier life. And you have fifteen bodies ahead of you, and no one cares what's already gurgling in your ears. As you want, so get out…
NELLY: Yes, as you want? In our case, everything is as usual.
JEANNE: Here. You're a friend to the point. Every girl's middle name is patience. How much we have to suffer from them in life…
NELLIE: Oh, don't tell me. You have to suffer so much before you can get even a little warmth.
JEANNE: I have to. And what is interesting, every time on the same rake!
NELLIE: YES!
Laugh.
ZHANNA: but the conversation still started for happiness. So, when these "rakes" do not poison our lives, or at least do not poison us much, then this is also a great happiness. Isn't it?
NELLIE (after thinking it over, agrees): Happiness. But these "rakes" can not only poison life. That's when you're on a bus full of people and a man gives you a seat. This is also happiness!
JEANNE: OH, Yes, it is. Especially if there are several girls standing next to this man, and he gives way to you, this is generally ecstasy.
Laugh.
NELLIE: No, I would have split it up. When a man gives way, it is happiness. But when you see the fierce envious glances of other ladies that the place was given to you, that's ecstasy!
They both laugh.
Jeanne (holding out her hand like a man): Jeanne!
NELLY: Nelly! (holds out his hand in response).
Awkwardly shake hands, smile at each other.
Julia returns, sees that her place has been taken, puts her hands on her hips, looks at Nelly with displeasure.
JULIA: I'm having A lot of fun here. I've got a girl's forehead bruised, and they're grinning?
NELLIE: that's not what we're laughing about. We have a dispute about men.
JEANNE (corrects Nelly): About happiness!
Nellie looks at Jeanne and nods her head vaguely.
NELLY: About men and happiness. Where else to talk about this as in a children's clinic.
Nellie and Jeanne are laughing.
Julia shakes her head disapprovingly, with all the accumulated resentment goes to the office door, quickly pulls the handle.
JULIA (belligerently): So, how long can I sit there?
The door suddenly swings open and hits Yulia's forehead. Dina runs out of the office with a cheerful laugh, followed by a cheerful laughing woman doctor.
Julia falls to the floor, loses consciousness. Her daughter Vika comes running to her, sits on her knees, pats her mother on the head.
VIKA (softly, barely audible over the laughter of the women coming out of the office): Mom, mom, mom…
DINA (laughing merrily): I won! I told them they couldn't stand it and would look in! (reproachfully turns to the girls sitting on the chairs) Girls, how long can you sit? Well, you have the nerve. I thought I was going to lose the argument. I would have looked in ten times and blown the place to hell, but I got an appointment. And you are sitting… eh, the wrong generation is growing up, there is no core in you that was in our time.
DOCTOR (turns to a friend): Yes, Dina, a deal is a deal. Cahors next time with me.
DINA: Two! (Shows two fingers) We had a two-bubble argument.
DOCTOR: Well, two, two… That's it, go on, I have to work. Who's next?
The doctor examines the bullfighter and draws attention to the lying Julia and the crying child next to her.
DOCTOR: yeah. This, the next patient, as I understand (looks at Yulia). Dina wait, don't go. Let's get some help. We'll drag the body into the office together.
Dina and the doctor drag Yulia into the office by the hands and feet, and the child comes in with them.
Dina goes out, closes the door behind her, and addresses the seated girls.
DINA: Phew… (sighs). What about the girl? Nerves? Or oxygen starvation? It's a little stuffy in here. Long lies?
JEANNE: So you're her… (changes her mind to explain). Yes, oxygen starvation, it seems. Literally fell in front of you shortly before. She's a strange girl. Not adequate, it seems.
DINA: Come on, who is adequate now in our time. Fainting isn't a big deal. Now her friend will pump it out.
NELLIE: Friend? I'm sorry, but what did you go to the doctor about? Where is your child?
DINA: my child is in Los Angeles, building a career. And the mother here is dying of melancholy. So I stopped by a school friend's house and watered it down for an hour.
NELLIE: Wow. Here people sit waiting, in a hurry, and they talk there, remember their school years?
DINA: WHAT's the BIG deal? You know, girl, from the height of my experience, I can say that all the fuss that is very important to you right now, it's all zilch. A prolonged zilch that has no significant value in life.
NELLIE: What? So the fact that I worry about my child, that I take care of my girl, bring her to the doctor when she is ill – it's all not important? Is it zilch?
DINA: That's not what I mean. It is necessary to take care, it is absolutely necessary. I'm talking about the rush, the rat race that you all participate in. After all, you are always in a hurry somewhere, somewhere in a hurry. Jump over each other's heads in your ghostly dreams. What don't I know? I was like that myself.
JEANNE: You can see it. You have a lot of nerve. You were arguing about something, weren't you?" More precisely about someone. About us, right? People sitting outside the door, waiting for help. You sit there, have fun, hold up the queue, the doctor, and then start teaching us how to live? Go, woman, go. It's already stuffy in here.
DINA: Well,well… Okay. Why talk to you? Everyone is used to stuffing their bumps, we do not like to listen to advice. Here we go…
Dean starts to leave.
The office door opens, and Yulia comes out, her head tied up, holding the child's hand.
Dina whirls around, waving her hands.
DINA: Ugh, Christmas trees… I forgot to tell you about cucumbers!
Dina pushes Yulia out into the corridor, shoves Jeanne, who is starting to get up from her seat, and She falls back into the chair.
Dina dashes into the office, slamming the door behind her.
JEANNE (to everyone): Did you see that? In a woman. No shame, no conscience, but assertiveness… you'll enjoy this.
NELLIE: Yes… there are still instances of Soviet stagnation. They don't know how to speak properly, they don't have any education, they don't have any life achievements, and everyone thinks they're the smartest.
Julia pulls the bandage off her head, checks the bump, and begins to dress the child.
JULIA (Nelly): I'm the one who suffered the most in this situation. In our clinics, it looks different to the reception and you will not get, only feet first. But, nevertheless, I will say a word in defense of what you call instances of Soviet stagnation.
NELLY: So what's there to say? The situation showed everything for itself.
JULIA: I do not know what this situation has shown you, but I do know that it is not necessary to equalize everyone with the same comb. I have a lot of friends, friends of my mother, friends of my father, people I respect very much, and believe me, there is something for it. Are you saying that they don't have any personal achievements, that they don't really know how to talk? Yes, people did not chase money before as it is happening everywhere now. Our grandfathers and fathers lived by the idea, our country was built and raised from the ruins after the Second World war. My father worked hard at the factory not because he was so stupid, he knew his business so well that people came to him from abroad to train.
My uncle created a cooperative. A businessman, in our opinion, was listed. So he did not chase the profit, did not look for a cooler car, as all went on the bus. He had other aspirations. He helped orphanages. For the new year, the children brought toys, clothes, different rags. Take our grandfathers, who had three classes and five classes of education there. Rarely when nine classes who finished. Yes, there was also a professorship, but the main layer is hard workers. Of course, people got drunk a lot, I don't argue, but people drank not from the fact that they were not smart enough to quit a bad habit, but from the fact that they carried all the pain of the past in themselves, and tried to drown it out. We were worried about future generations. We tried hard for the country.
Julia looks at Nellie with disdain and addresses her.
JULIA: here's how much… twenty-five years old? Thirty? What have you done for your country?
Nellie is silent.
JEANNE: So, girls, let's somehow dispel, here and so sad, sitting, waiting for the weather by the sea, climb out (points to the door)… I know we are all a little wound up, there is certainly no nerves will not be enough, but it is necessary as-that to dispel, dispel… Let's treat the situation appropriately, without sharp conversations.
JULIA: Well, here you are dispel, practice in adequacy, and we went.
Julia straightens the child's things, throws her purse over her shoulder and heads for the exit.
A statuesque, prominent man with a military bearing and a charming smile, Kirill, comes out to meet her, leading his son Dima by the hand.
The man's face glows with nobility, calmness. He smiles affectionately and affectionately.
He pauses in the corridor and assesses the situation.
The mummies don't take their eyes off him, who is completely focused on the object.
Not weak interest and sympathy is read in the eyes of every mother.
Julia stops as she passes the man. She doesn't want to leave. But he doesn't find an excuse to stay. She is captured, waiting for developments.
Act two
KIRILL: Hello, lovely ladies. Everyone is in a good mood, which is probably not so easy to do in this type of institution.
Girls exhale. Their faces turn into charmed smiles.
KIRILL: I understand that everyone is in the fifth office?
ZHANNA, NELLY (chorus, gently): Yes!
KIRILL: Great. And who is the extreme one?
Nellie raises her hand like a schoolgirl. Her eyes Express the look of a kitten who asks for a pen.
Cyril notices her and smiles at Nellie.
KIRILL: I Understand, fine, I'll follow you then.
NELLIE (affectionately): Well.
Kirill comes closer to the office, looks for a place to Crouch, and the ladies watch him.
CYRIL: Hmm… funny. There's nowhere to sit. But nothing.
The man squats down and puts the child on one knee.
Ladies watch as the man famously solved the issue of seats.
JEANNE: Oh, what a good boy. What's your name?"
KIRILL: are you talking about the child or about me?
The ladies start laughing foolishly all at once, trying to make a greater impression on the man.
CYRIL: (smiling): My name is Kirill, and the guy's name is Dima.
ZHANNA: very nice, I'm Zhanna, I also have a little son, Rudik.
Jeanne shouts to her son and waves at him.
ZHANNA: Rudik, my son, come here and see what a good boy Dima is. Go get acquainted soon. (Turns to Cyril's son) Dimochka, hi, I'm aunt Zhanna. What happened to you? Sick?
Dima: Yes.. Rudik
comes and looks at Dima with a hostile, frowning look.
ZHANNA (to her son): Well, I held out my hand, as men say Hello. He held out his hand.!
Rudik holds out his hand. Dima holds out his hand in response.
Nellie calls her daughter
NELLY: Marinochka, my daughter, run quickly here, go meet the boy.
Marina comes running with pencils in her hand.
NELLY (refers to Cyril): I – Nellie, and my daughter's name is Marina, let's get acquainted.
CYRIL: (smiling): Very nice to meet you.
Children are standing, looking at each other. Marina and Rudik run away to draw again.
Julia looks at the whole thing, takes her daughter's hand, and returns to the office.
YULIA: AND my name is Yulia, my daughter is Vika.
KIRILL: Let's get acquainted, Kirill, Dima (points to his son).
JEANNE (Julia): I didn't understand, but why did you come back? You have already been accepted? It seems to have already left, again drawn.
YULIA (without taking her eyes off Kirill): Yes, I remembered that there is still something to clarify. But I'm on a first-come, first-served basis. I'll be right behind you, Kirill. All right?
NELLIE (indignantly): you don't need to borrow. Walk in front of me, I'll skip it, you won't be long.
JEANNE: Well, we are not people. Walk in front of me. Now directly and come in with Vika, this aunt will come out of the office and immediately come in, we will wait (turns to Nelly). We'll wait, won't we?
NELLIE: Of course, what's the conversation about? Go first, Julia, it's still your turn, by the way.
Zhanna: By the way, Yes!
YULIA (without taking her eyes off Kirill): Oh, no, girls, thank you, I'll wait. We are not in a hurry.
VIKA: Mom? Should I go to practice?
JULIA: A.... we're already late anyway. There's no hurry now. You know what? Go home, my daughter, and I'll come in and ask the doctor, because you don't have to be here. Go home, do your homework, and I'll be here for a long time, you see, two aunts and (gently) a man.
VIKA: Really? Cool. Well, that's it, I'll go home then.
Vika joyous runs away from the stage.
JULIA (looking pityingly at Cyril): Yes… and there's really nowhere to sit down.
